FLACHER RAUM

For the Mill Day at Museum Wendener Hütte, Tobias Post presents the interactive digital light art work "FLACHER RAUM". The work joins the opposing poles of concrete art and informal painting and is based on the artist's "postdigital placement model".

The postdigital placement model describes art as a deliberate decision between different artistic forces and traditions. At its centre, for Tobias Post, stand three points of view: informel, concrete art and representation. Between spontaneous gesture and clear order, a field of tension arises in which art moves. The digital is not an end in itself here, but a self-evident tool for bringing time, movement and interaction into painting.

The movements of "FLACHER RAUM" were "painted" in software developed for the purpose. Gestural, informal painting and digital real-time art therefore flow directly into one another. The work is founded on the contrast between circle and rectangle, between round and angular building blocks that constantly change and reorder themselves.

A central theme of the work is the relation between surface, space and representation. Through interaction with visitors, the spatial sculptures shift between flat picture plane and object that can be experienced. Space here becomes the precondition for representation. As soon as forms can be experienced spatially, real objects come into being for the artist. The viewer does not merely generate the image virtually in their own mind; they visibly influence the real appearance of the work itself. Perception is reflected straight back into the artwork.

Particularly compelling is the contrast between analytical construction and immediate sensory experience. The soft, coloured forms look almost like fruit gums or sweets - directly accessible, playful and alive. At the same time "FLACHER RAUM" opens up a deeper engagement with perception, space and interpretation. The work can simply be watched and experienced, but it equally invites a closer look at one's own habits of seeing and at the question of how reality and representation come about at all.

These sculptures do not only shift in appearance between flat and spatial. They exist in a duality: a concrete art sculpture and, at the same time, a conceivable representation.